You Know What It’s Like is an album for inbetween days, and occupies inbetween states: plain-speaking pop, disorientated by dub. Psychedelic folk delivered with (post-)punk economy. Drifting in space while still tethered to the ground. Astral tones blurred with earth sounds: wood, bone, breath, skin, dirt. Ending and beginning, dying and becoming. Longing for adventure and an unquiet life. Struggling to get out of bed.
This is Carla dal Forno’s debut solo album, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone - stoned and deadpan - but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno's emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. This voice asks difficult questions of singer, subject, and sung-to.
And of course there are no simple answers. Singles ‘Fast Moving Cars’ and ‘What You Gonna Do Now?’ weigh up claustrophobia against loneliness, inertia against acceleration, doubling down versus taking off; the title track acknowledges the provisional nature of love and “real” intimacy, then decides to brave it anyway. By the time we arrive at the startlingly sparse ‘The Same Reply’, the impermanence of all things is something that can no longer be tolerated, and the sense of dejection is absolute.
The vocal-led pieces are interspersed with richly evocative instrumentals, like Eno’s Another Green World reimagined in shades of brown and blue. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures ‘Italian Cinema’ and ‘Dragon Breath’ channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. ‘DB Rip''s drum machine and bassline are pure Chicago house, but then its dark choral drones nod to Dalis Car's dreams of blood-spattered Cornwall stone. ‘Dry The Rain’ drinks from a stream of eldritch, home-brewed moon musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats’ Odyshape, and into the woods.
Wondering and wandering. Wounding and consoling. Looking forward, looking back. Saying it like it is, making it up as we go along. It can't last forever. You can't have it all. You know what it's like.
released October 28, 2016

"Nonagon infinity opens the door," sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door's open, it never closes. That's because the Melbourne septet has ingeniously crafted what may be the world's first infinitely looping LP. Each of the nine, complex, blistering tracks on 'Nonagon Infinity' seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making.

Heligoland are a five-piece band from Melbourne, Australia. The band is now based in Paris, France. Heligoland's songs and sound have been compared to the atmospheric textures and soaring female vocals of Cocteau Twins, the spartan soulfulness of Low and the wistful melancholy of Mojave 3.

Tipped as a band to watch by Pitchfork, NME and The Guardian on the strength of their debut EP, High Highs' shimmering, harmony-laden indie pop has drawn favourable comparisons to Neil Young, Grizzly Bear and Radiohead. Their marriage of electronic indie and classic acoustic rock has created a dynamic widescreen sound of their own reckoning.

In July 2014, Gerrard released a new solo album entitled Twilight Kingdom through her own record label, Gerrard Records.

A powerful western drama set in the savage Eden of 1880s Australia, The Proposition is an elemental story of family conflict and primal violence, destructive love and divided loyalties. Featuring an international superstar cast including Guy Pearce, Ray Winstone, Emily Watson and Danny Huston, it is directed by John Hillcoat from a specially commissioned script by the globally acclaimed singer-songwriter Nick Cave. Cave has also composed the film's soundtrack in conjunction with Warren Ellis, his longtime Bad Seeds collaborator and multi-instrumentalist frontman of The Dirty Three. Incorporating soft chamber pieces, ghostly moodscapes and whispered laments, these 16 tracks are as starkly beautiful as the landscape of the film. Story and music are closely intertwined. EMI. 2005.

‘4AD传奇’的另一缔造者Dead Can Dance（死能舞）一共发行过三次精选：98年的单CD《A Passage In Time》，2003年的双CD《Wake: Best of Dead Can Dance》，而2001年的三CD精选《Dead Can Dance 1981-1998》则最全面的揭示了为什么DCD是一个如此具有影响力的乐队：
专辑以Lisa Gerrard和Brendan Perry首次合作的"Frontier"开篇，以他们最后共同创作的"The Lotus Eaters"结尾，收录了17年中七张录音室专辑的代表作，现场版本等，清晰地展现了DCD复杂的音乐根源和风貌的变化：格列高利圣咏、中东印度、非洲土著音乐、甚至包括中国的古乐，Perry运用合成器构筑出哥特氛围，Lisa擅用中国的扬琴、印度的曼陀琳演奏，DCD的音乐从远古中走来，却赋予了现代的精神和灵魂。
DCD从来都是一个二元性的乐队：Lisa Gerrard与Brendan Perry的声音始终有种对立的本质——一个是超越世俗甚至宗教的纯粹精神，另一个是带着民谣色彩的浪漫主义的诗意。
80年代初两人在澳大利亚相遇，音乐上的共鸣/共识促使他们决定离开当时被朋克潮流席卷的澳洲，而到风格更加自由多元的伦敦发展，相当长的一段时间内他们靠着在墨尔本的一家饭店刷盘子凑足了路费，来到伦敦并遇到了当时的一家小独立唱片公司4AD的创始人Ivo Watts-Russell，踌躇满志的开始了他们的音乐事业。
虽然今天无数歌特/Darkwave乐队、新古典/New Age音乐家都称受到DCD的启示，但DCD的音乐始终保持着它独特的不可取代的气质：它很美，但不是New Age容易流于的‘虚无缥缈’的美，事实上它可以如中世纪修道僧侣般庄严肃穆（Lisa本人确实在修道院生活过并创作音乐）；其中折射出黑暗，但绝不是人性中的黑暗面——那是有形肉体消亡后，精神所呈现的蒙昧而灵动的状态，是通过音乐所能达到的至纯至美的境界。

Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, ‘sound based’ music.
The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns. The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton’s bass swirl around Chris Abrahams’ crystalline piano motif, with Tony Buck’s percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities. Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone’s guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.